Midnite

I personally got a chance to visit the recording studio in Upper Marlboro, Md. where this production was created. Oh my god! - Yes, I sweared! The strive for perfection in capturing the moment, and the dedication to capturing the true, honest, live, and closeup club environment sound was definitely achieved. I pray that Midnite requests that Maple Shade Records record again for them. Amazon's previews do not serve justice to the quality of sound. Someone commented here that the bassist appeard to be playing mostly on the left side of the soundstage/speaker. I guess you are saying that all of the sound should come from the middle of the stage, or two speakers? I think the sound should appear to come from where the actual player was standing? Maple Shade is serious about capturing their live recordings as they visually appear on the stage (capturing the true moment). Maple Shade Records has relocated to Baltimore, Md., due to development sprawl getting too close to their quiet rural wooded recording location. Midnite recorded this CD without any edits. With Maple Shade you have to get it correct the first time because it is going straight to the old school reel to reel tape. Maple Shade uses tube amps, speaker cables lifted off of the floor and some more. The simple heavy, tight, mesmerizing tones in this CD causes you to listen while in a continuous trance. Thanks Pierre for recording such a great hit.

The most unique thing about this CD is the recording and sound. Very simple, 2 channel to analog. The natural ambience is palpable, with a pronounced stereo effect. Lovely sounding. That said, it is a bit disconcerting that they panned the bass guitar almost completely to the left. You would never get such an effect hearing a live band. And the drums sound too acoustic really. They should have used a kick drum mic inside a damped shell, IMO.

In terms of the music, the vibe is solid. Mostly one-drop style, with nary a bridge or chorus to be found. The songs are overly simplistic...there could be more contrast in this album. The drummer needs to accentuate, using cymbals more. The bass and guitar are the best instruments. Still, a very interesting sound.

This is Midnite's only CD done with Wildchild, a very small but very good independent label. The sound is clear and uncluttered, without the usual audio tricks found on almost all audio tracks. It seems to have inspired the band to do something special. The lyrical content, the instrumental and vocal delivery, make this the best release Midnite has done yet. I consider Ras Mek Peace to be one of the top ten Reggae CDs of all time. This is not hyperbole. Amazon allows you to preview the CD through Windows Media Player. Judge for yourself. I would not normally review a popular music CD, but some ignorant comments were made about this group that required a response. If your are trying to find this CD, try Ernie B's Reggae site. The prices are fair and the service is excellent. (The sellers at Amazon appear to be stocking the gold-plated versions of Ras Mek Peace.)

In light of their prolific output of consistently moving roots reggae, their creative genius, precise musicianship, and inspiring message, one can only guess that the only two reasons Midnite has not achieved global superstardom are (1) they are from St. Croix, Virgin Islands, and not Jamaica, and (2) they do not want global superstardom. True to their religious beliefs, they realize that global superstardom is empty and not worth their aspirations. I feel certain that the more juvenile reviews ("They're great! "No, they're not!" "You suck!") posted here do not reflect the tenets of the music its "supporters" claim to appreciate. Universal peace and love is the way. Respect for all. To each his own. Make your choice and move.
"Ras Mek Peace" (and the rest of this band's work) demonstrates musically the Rastafarian faith in its purest essence, unashamedly. Dark brown wood roots grow from the soles of the feet of the artists who make up Midnite, digging deep into the sands of St. Croix, trees of truth whose fruits are falling slowly, one by one, on all the lands of this desperate Creation.

My review title says it all. I own thousands of reggae cd's dating back to Count Ossie, Lord Creator, Judge Dread and even young man you may have heard of: Bob Marley.
Anyway. Midnite is the greatest thing to happen to the reggae movement in years. Groundation is: Incredible, John Brown's Body is: Phenomenal, But Midnite is: Biblical!!!!!!
So the guy down below Jaco Roesch, that calls Midnite insipid, and claims that Groundation is a better reggae band, just remember this, I've met Harrison Stafford, the lead singer of Groundation, at 3 different Midnite shows, and he considers Midnite to be one of the best.
So I guess what I'm trying to say is, well, if Amazon.com will let me sat it: Jaco, you're an idiot.
Respect.

Original man he was black he was black he was a african, carbon, eh wa.
Science will show that and prove that over and over again Jah see and know.
Midnite is without a doubt one of the best reggae bands to ever grace this earth. I've been listening to more of the "pop" artists in my lifetime(Bob, Burning Spear, Steel Pulse) and when a friend of mine popped this cd in and Bushman started blaring I was hooked right away. Every single song on this disc is top notch. Get this disc you won't regret it. I also have their cd Ras Mek Peace which is also a good disc. Sound quality is not as good as Unpolished but the music and lyrics more than makes up for it.

Midnite and "unpolished" bring a pureness that is so rarely found in modern day. A serene essence will pour out of this album when you first listen to it, as does many of their others. Live, they leave you with the same feeling. Their music is a true inspiration to the music world. I highly recommend all their albums, especially this one, which demonstrates their extremely intelligent lyrics and original, hypnotic roots. A MUST have.

I agree 100% with all the previous reviews of this cd. There is no better roots reggae out there today and this has become one of my favorite albums. I just wanted to point out that if you really liked this album then you should check out their release "Jubilees of Zion" which was recorded in 2002. This is not available i don't think on amazon but you can get it through their website. Midnite has many albums which vary somewhat in style and i've found this album to be the most like "Unpolished". Although i don't think its quite as good as "Unpolished", its most definitely worth checking out and is very good. Also don't miss "Ras Mek Peace" which was recorded only using two mics and contains no added effects. Its like you're listening to them play in your basement and their talent really shows through.

will love midnite 4 ever... they came to pahoa HI. cant tell you how much i love dis roots kine music

cant even handle myself when i play it ... one peace fullfullfilling song after another ... i cant believe it!!!

There is one very deceptive thing about this album: the melodies are so beautiful that they may have you hooked without once thinking about the substantive messages in this album. For anyone who has been curious about the torchbearers of the roots reggae message left behind by Bob Marley, Lee Scratch Perry and co., look no further. This album is exquisite. It starts with the unabashed anthemic "Bushman", proclaiming "I am a Bushman, I am a Bushman," and moves seamlessly to the second song, which admonishes, "Live the Life you Love, Love the Life you Live." The most amazing thing about this album is that it is not anachronistic. Unlike Groundation, who tend to regurgitate original roots reggae music, Midnite really seems as original today as if it were written 30 years ago. Its been a long time since I heard music like this. Tune in, listen, and you will not be disappointed!

My wife and I have just completed the process renting a jeep on our travel experience to St. John, USVI ([...] was a wonderful eco-green vacation) and we noticed an advertisement stapled on the telephone pole about a live outdoor reggae CD release concert---Sunday, August 13, 2007---for [...] musical artists Abja, Niyorah and Pressure. I removed the flyer and placed it inside of my backpack for safekeeping. Several beautiful vacation days have passed in St. John and the night for the VI-Style Roots-Rock-Reggae Concert has come. The reggae artists Abja, Niyorah and Pressure roots-rocked the conscious party on a warm Caribbean clear moonlit and star filled sky. At the end of the concert, my wife and I purchased Abja (Mahogany Road) and Niyorah's (Purification Session) compact disk. A week after listening and enjoying the critical and uplifting lyrics on Abja and Niyorah's compact disk when we returned to the States, I went to their website and learned about several other reggae musical artists who sang political, spiritual and cultural lyrics. The exceptionally designed [...] website allows you to listen to a few songs of an artist that were selected for audio sampling from the beginning to the end. The first song I audio sampled of Midnite it reminded me of the first time I heard a complete Bob Marley song. The songs went straight to my heart and soul---their Rasta spirit, powerful 2/4 reggae beat and gutsy lyrics were infectious. I sampled several other of Midnite's compact disk on viroots.com website and was elated that a new crop of serious reggae musicians had arrived with a similar passion and soul as Bob Marley's Tuff Gong in the 1970's. Midnite of the US Virgin Island (St. Croix, St. John, and St. Thomas) reflects that reggae started in Jamaica but other people in the world of Africa descent can do reggae too. (You may start it but you do not own it.) Ife and I were fortunate to experience Midnite at S.O.B.'s in NY; Bob Marley's 60th Birthday Tribute, February 6, 2005. In addition, we experienced Midnite in Philly, Oct 10, 2006. If you can experience a live, in living color Midnite concert do it, and purchase his compact disk, also. Midnite's Artistic Talent, Human Development and Ras-Spiritual Consciousness will touch and move you deeply. He is a Mystic Vibe Midnite Rastaman from VIROOTS Reggae. Listen, Learn--and Live Positively--in this Time and into the Future.

Ok, let's even out the reviews here. "Unpolished" by Midnite is a brilliant album, as well as "Ras Mek Peace". These two albums represent Midnite at its rawest, roots-based approach that they have absolutely mastered. These deserve 5 stars, no questions. However good "Scheme of Things" may be, it does not deserve the recognition of these two aformentioned works. "Scheme of Things" is somewhat of a departure. At this point in the prolific recording output of the group we see a move towards more dancehall oriented productions that rely more on the studio wisardry of modern technology than the bare-bones or 'unpolished' sound of their first recordings.

"Lioness" and "Bazra" are two of the stronger tracks here, but honestly they do not live up to the supremely beutiful melodies and lyrics of previous works. The biggest problem with this album as well as other later works (including albums released as Midnite-I-Grade) is consistensy. As Midnite tightens the arrangements, adds drum machines, increases albums to 18 tracks versus previous 10 song releases, the quality suffers. Let's hope that Midnite rediscovers their roots, but I do not disagree that they are phenomenal live!

Midnite opens up a new window for Jah windmusic to reach us, highly recommended.

Midnite has been around for some years now, and really starting to gain popularity and momentum, if the sold-out clubs and of their last tour were any indication. And this album shows that their studio performances are just as good as their live shows.

The album starts with a slow buildup, the jazzy and beautiful "Words ov Right," and by the time the the massive one-drop songs "Lianess" and "Bazra" come, one remembers exactly why Midnite is one of the best acts in all of music today.
Another really strong track is "Respek Dem Een," an incredible chanting tune led by the vocals of Vaughn Benjamin, the premier vocalist and lyricist, who is at once enchanting and complex.

Even better is another album released at the same time on Midnite's own African Roots label, called "Ainshant Maps."

Once one hears Midnite, most other reggae becomes obsolete, that's how far ahead of everybody they are. Catch them live if you can, it's an incredible experience.

most refershing roots Ive heard in a looooooong time.

Good to hear Vaughn over new production/instrumentation.


Ites...

Perhaps even more so in reggae than in any other form of music, for an artist to maintain a ridiculously prolific recording schedule (to the point of being over active) is often rewarded. Reggae music and it's fans have traditionally had and still have an attitude of `out of sight, out of mind' for an active artist in particular, activity is almost as paramount as actually scoring big hits. Here in Jamaica, on the local scene, you get new tunes from artists at a torrid pace which nearly ALL receive some modicum of success (speaking strictly of the artists at the top of the game) from fans who are as equally appreciative as they are demanding of NEW vibes from their favourite artists (the same concept would explain why you have discussions in 2007 about Comeback Artist of the Year including names such as Anthony B and Mr. Vegas, just because both may have taken a couple of months off along the way). On the international scale activity is reflected through new albums and touring and this is evident by any trip you might take to your local reggae music store and notice how many albums you'll see on the shelves from Sizzla, Anthony B, Luciano, Turbulence, Jah Mason, Capleton, Beenie Man and the list goes on and on (in a couple of years I'll add Lutan Fyah and Natural Black to that list) of artists who maintain (or used to maintain) ultra active album release schedules. The concept of the `new' album from a specific artist can really get lost on reggae music as at any given time during any given year, such an artist may have more than one album out less than a couple of months old. In other musical forms it is often the process of building albums through material recorded specifically, where, in reggae it is the exact opposite. Most modern reggae albums are compilations (albeit some of them VERY new compilations) with new material thrown in, thus, the ridiculous nature of some of these artists' album catalogues is even more impressive when you consider how the album was thrown together as a mix of songs for a given specific producer who then takes the music and tries to sell it to a label for distribution and for the very active artists, this occurs quite a few times a year. I've found that non fans of reggae and even newer fans to the vibes are either downright confused by this or just do not like the practice at all. I've even heard longtime fans and people whose opinions I respect on the topic speaking of the ills of such schedules and the possibility of over-saturation for an artist when he/she may have albums virtually competing with each other for the attention, but did I mention that being over active has it rewards?

A reggae act who would certainly Overstand those rewards would be (Vaughn Benjamin) Midnite Band, the largest and most well known band from out of the Virgin Islands. Over the past few years Midnite (again, by `Midnite' I mean Vaughn Benjamin) has set a level of releasing albums virtually unseen by even their Jamaican counterparts, making the artist somewhat of a `roaming label' as seemingly anytime they feel like having an album (or a book) Vaughn Benjamin, the group's lead singer and songwriter can make it happen on any of the five or so constant labels he voices for consistently (and as each year goes by, he seems to add another or two). And while I'll spare you the details of exactly what they (he) did in 2007 (but you can feel free to look at my review for Infinite Quality for that), Midnite even changed the game by their own standards. `Typically' (if you can call it typical) Midnite will release two or three albums in the early months of the year and two or three over the balance of the year. They have fans extending ALL OVER the world and their albums, in terms of reggae music, tend to sale quite well: One of the few rewards for such a schedule and definitely the same could be said for their Jamaican counterparts as well. Now you can imagine that when keeping such schedules in recording there are probably about a dozen producers and labels out there with material loaded and ready to go from Midnite which has yet to reach their release dates and some will almost inevitably fall through the cracks for one reason or another and may never be released. In Jamaican reggae, the concept of the `lost recordings' is strictly meant for the elder and far less active artists (I believe the last new one which I saw was a Junior Reid release) and you have undoubtedly seen (and probably bought) `new' albums full of seemingly lost and forgotten tunes form a given artist. I remember an odd Sizzla release from just a few years ago by the name of Stay Focus which had been full of tunes the artist had voiced for his former label Xterminator which hadn't seen the light of day in the label's heyday. Midnite, however, has chosen a different route (unsurprisingly) by releasing a complete `lost' album of songs which originated close to the start of the group's prime back a few years back when they were based in Washington D.C. in the States. Kayamagan has been hyped as an album which is full of tunes recorded at the same time as their very popular Unpolished and Ras Mek Peace albums in DC for established Jamaican born engineer/producer/artist Desmond Williams. Williams originally came to prominence by virtue of his serving an apprenticeship with the legendary Scientist and really becoming a protégé to the dub genius. Williams' long line of associations now receives what is arguably the crowning jewel of them all with an album which has been as ODDLY talked about as the man who voiced it. Kayamagan is a very interesting trip back in time to a Vaughn Benjamin who wasn't as yet as `mystical' as he is now. The album shows a hidden immediate predecessor to the ultra brilliant, ultra cryptic and ultra busy Vaughn Benjamin who now roams the earth spreading his bottomless vibes and knowledge in his music.

I actually heard about the coming of Kayamagan around the end of 2007 when it was mentioned that early in the new year Midnite would be releasing a `lost' album and doing so through one of their `lost' labels, Rastafaria. The New York based label was one of the very first few to begin releasing the group's music along with (Midnite's own label) the Afrikan Roots Lab imprint. Albums such as Unpolished, Intense Pressure and Scheme A Things all came through Rastafaria earlier in the century and all were quite well received. Kayamagan doesn't disappoint on those expectations at all as Desmond Williams and Vaughn Benjamin work together quite well together. It is EASILY foreseeable that someone who served their apprenticeship under the Scientist (himself, at times, known for his cryptic ways) would vibe quite well with Benjamin, but Williams style is, for the most part, much more straight forward. Kayamagan gets started with a very strong group of tunes which include the album's absolute strongest piece as well. First up is Burning Fire which more than adequately sets Kayamagan off on the right foot. It is VERY evident from the very first bit of the tune that one of Williams' greatest influences is definitely Bob Marley (and it is a consistent style of vibes which appears throughout the album) and its definitely always interesting to hear Benjamin on a much more traditional style of vibes. For his part, this younger version of Vaughn Benjamin comes off as a bit more jovial and dynamic than the well traveled and equally well versed version which we have today (although he certainly had a bit of that at the time of this recording as well, which comes later). Burning Fire is just a lovely song! As is his style still today, Benjamin seems to almost force the riddim to play to HIS vibes instead of the other way around and he does an excellent job with the fine composition by Williams. The song also presents his still present free-flowing style as there is a stretch later in the tune where Benjamin just changes the pace completely and seems to flow from his head top in one of the more memorable portions of the tune. Following Burning Fire is Kayamagan's strongest effort I Chant. Its quite interesting that I'm always wanting for Benjamin to record something more `normal' in his vibes, but the one time where he, arguably, comes closest to the vibes he has today, I am most impressed on Kayamagan. I Chant is just LARGE! The song just makes one feel good being of Afrikan descent as Benjamin utters the lovely chant, "I saw a Black Lion walking out of the sun. He was a dreadlock one." Reggae music is absolutely brimming with well talented wordsmiths of all varieties, but I don't know if there is any other lyricist in the vibes who could produce such a memorable line. Benjamin shines all the way through one of the most simple of Williams' riddims producing something well within the vibes his vibes his fans are used to and in the process further reveals his quiet but ultra apparent genius. Kayamagan's opening concludes with the very straight forward Repatriation Song. Built over a fairly normal, even `tropical' sounding one drop riddim (which really flourishes the second the horns are added). Repatriation Song is a very laid back vibes but one which you really NEED to pay attention to the lyrics to enjoy and receive at its best (the same could be said for all of Benjamin's music).

Of the many unique things that you could use to characterize the musical style of Vaughn Benjamin, definitely the one which I tend to appreciate most is his overall knowledge. Never the one to make music merely for the sake of making music (which is saying a lot when you consider his prolificacy), one could receive a virtual history lesson just rummaging through the old pieces of Midnite. This is probably most evident on the scathingly WICKED The Trixter which I would swear came out of the ranks of Midnite 2008 as opposed to 2003. The Trixter carries a more typical Midnite vibe but Benjamin allows himself to be directed more by the riddim instead of, as is his norm, the other way around. The second verse just starts the knowledge flowing like lava as Benjamin rather calmly comes forth with a HUGE shot. For his part, Williams builds a very nice and complex riddim, the highlight of which is a very soft piano which directs the riddim to the point where it disappears for quite a while. Similarly, there is Scarface. The tune even further shows Williams' Bob Marley influence as the start of the song mirrors the segment guitar riff start of Stir It Up from the Reggae King. Scarface draws on so many vibes for the lyrics and it was the first song on the album where I caught myself doing what I usually do when I listen to Benjamin in rewinding the song just to catch EXACTLY what he says at a point. On the first solid verse in the tune he poses so many precise and poignant questions which, in my opinion, at the end of the tune carries a message to watch those around you, watch their actions and don't do so suspecting, but watch their actions and it may reveal more of a person than just talking to them or just the perception of them. BRILLIANT! While throughout Kayamagan you'll definitely see a bit of Marley in Desmond Williams' production, you'll also (wonderfully) see the effect of The Scientist. This appears probably best on the strong tune Jah I. This tune flows over a composition which carries a very heavy bass line, one which would sound completely serving as the foundation for a dub track definitely. I wouldn't even call the tune Jah I one of Kayamagan's best efforts, but its certainly interesting seeing the many variants which go on to make up not only Benjamin's style (and I am STILL searching for the father of his style if it isn't Benjamin himself) (and it is) but Williams' as well. I'd also recommend checking Resilient Race (speaking Marley vibes again) which is another tune where you really need to concentrate on the lyrics of the tune to really enjoy the vibes. The tune speaks to the overall strength and resiliency of people of Afrikan descent on a really powerfully brilliant track. Her Clock is another very powerful tune as well. The song is a rare one which is more obtrusively speaks to the Black woman. The subject isn't a rare one for Benjamin, but, as on most things, he usually takes the song in a direction which requires the listener to tie things together for themselves. Her Clock is a tune speaking directly on the subject and even more importantly, speaking directly to the men who may be ignoring the strength of `Her Clock'. After a very nice tune in A Cool Veranda Kayamagan ends with Unrehearsed, another of the album's real highlights and definitely a nice way to end the show.

Overall, even though it is a new year, things haven't changed much for Midnite. Thus, while I am fully recommending Kayamagan to fans of Midnite (and even though it is from an older time, I think this one is still STRICTLY for those who are already fans), if you don't already know, its already the group's (Benjamin's) second album of 2008 (after the typically cryptic Maschaana from Natural Vibes). This one, however, comes with a very much `collector's item' feel to it. Musically, it's a slightly older take on Vaughn Benjamin's proven winning form and it definitely won't disappoint the staunchest of Midnite fans. It also speaks to the power of the producer Desmond Williams as he shines just as highly as Benjamin does throughout. Hopefully, sometimes during his seemingly endless `have vibes, will travel' phase; Vaughn Benjamin makes it back to Washington DC for the follow-up to one of the more interesting Midnite albums in awhile.

I have to say that this CD is some of the most raw, origonal reggae sound I have ever heard. It is not typical mainstream reggae but it is not lacking in creativity or talent either.
Bass and drums take the front in this production with layered vocal and instrument effects highlighting most of the tracks. It has a very dub meets rhythym and blues reggae feel that is overall, very origonal and extremely well done.
If you haven't sampled any of the tracks already I would do som\ immediately if you are a fan of Midnite and make your own decision.
I would highly reccomend this to anyone who is a fan roots and/or dancehall reggae. The only reason I won't give it 5 stars is because there are 2 songs on the CD that I wouldn't mind if some one pressed skip while they were playing. Any other tracks on there and I would have to object and replay them from the beginning :)

This reggae on this cd is monotonous, dark, and depressing. The artwork on the cover is nice, but the music did nothing for me. I am a big fan of warrior king, sizzla, and israel vibration. If you like contemporary roots reggae, i refer you to them, not this.

Good riddims and rock steady bass, but first consider Scheme a Tings or Ras Mek Peace for a more solid lyrical album from midnite. War is pricy, Peace is pricless. One Love. Peace.

Thought I would give this album a review to let you know that Midnite has never produced a bad album. This album is a combination production between Midnite and I Grade records. It is a lot different from Unpolished but different is good! One track "Check Ya Self" and you will be hooked on Midnite. I have tens of thousands of Reggae cuts and this song blows my mind. The rest of the album will hyponotize and mesmorize. Branch out my brothers and sistas Roots is fierce when Midnite play de down.

CD is aite man..... real roots from a real artist. saw dis cd and heard it, d-sided man i gottah get dat. den i bought um and man dis is orginal roots.....buy dis cd!!!its real roots and reggae!!!

Midnite is definetly the Reggae band of the 2000's ! Rule The Time is a very well balenced album with out of control, non-stop lyrics.
"Why dem no listen to the little JahJahlele" lol Great stuff !

Seeing that there was only 1 review of this album I thought I'd throw my two cents in so someone would be able to have more than 1 opinion. To start, I consider myself a pretty big Midnite fan, seeing them whenever they hit the NY area(not to be missed, by the way). I have a great majority of their albums and their style seems to vary quite greatly depending on the album and its production. I've always been more of a fan of their works that get away from the electronic sound that sometimes dominates their albums which collaborate with I-Grade, Branch-I, Higher Bound, etc . To me their strongest points are when they mix Benjamin's powerful vocals with the full rythym section backing them up. Sadly, this one seems more Vaughn-centric than their better stuff. "Unpolished" is one of my favorite albums of all time and "Ras Mek Peace," "Jubilees of Zion," "Seek Knowledge Before Vengeance," and even "Ainshant Maps" are by far my favorite titles of theirs. But this one really seems to fall short. If you are a fan of their stuff beyond what I just mentioned than I'm sure you'll like this one too but I was personally left uninspired. If you are new to Midnite, buy "Unpolished" and enjoy one of the greatest reggae albums ever

Years from now scholars and historians of reggae music may come to a point which they refer to the emerging of the Midnite band as one of the more significant occurrences in all of modern reggae music. While the band is, of course, only a true representation of itself, their peers are following by the handfuls and making their simple, yet very unique brand of roots reggae amongst the most popular (and most populated for that matter) styles of the music available. Hailing from St. Croix in the US Virgin Island the Midnite band has established a virtual stream of vibes from St. Croix, to Washington DC and the west coast of the United States, stopping at Jamaica before spreading all over the Virgin Islands; and in the process have brought many of their compatriots and neighbors with them. Perhaps most importantly, however, Midnite has a large (probably the biggest) hand in establishing what is the `VI Sound'. As reggae music (and particularly roots reggae music) continues to reach the four corners of the earth, the areas where it makes its greatest impact and in fact begins to grow their own performers tend to develop a stereotypical sound. For instance, the UK, which has historically had great ties to Jamaica itself through the many Jamaican blooded and born living there has had a sound which formerly resembled that of Jamaica's own until recently where it appears the artists coming in now tend to favor more of the rootical side and the same can be said for other European areas such as Germany and Holland (and now apparently reaching as far as Scandinavia as I just received a compilation of roots from Finland), as they also tend to gravitate towards the rootical vibes. The exception in that area is the emerging French performers who, per my experience now most closely resemble modern Jamaican reggae as they have covered the entire scope of roots as well as a strong dancehall presence these days with names such as Saik, Krys and of course Admiral T. Here in the Caribbean, in areas where reggae music is king, typical national sounds have also been established. In Trinidad, for example, while you can listen to much of the top dancehall talents from Jamaica on TnT radio hourly, their own artists such as Khari Kill, Marlon Asher and Queen Omega tend to gravitate more towards the roots side as well (which is such a huge gap as the most popular sound in TnT is without a doubt the crazy hype Soca which they dominate). Much of the aforementioned French presence in the West Indies have identified their sound as well (as it is there where much of the talent which ultimately becomes top French talent originates) . That Virgin Island reggae sound is different from them all however, it is a much stripped down version of Jamaican roots, much more closely resembling the second wave of roots sound which came along in the 1970's.

Midnite band is without a doubt the first and last name mentioned when speaking about VI Reggae. The band took their brand of roots abroad for several years, being based in the Washington DC area in the early 1990's and not only established their own sound, but this overall VI Sound as well and laid the groundwork for the genre abroad. Being comprised and led, primarily by the Benjamin Brothers, the elder Ron who leads the music and is the main arranger and Vaughn who writes all the songs and more or less controls the `identity' of Midnite. Typically, all that is required to have `Midnite' is the presence of Vaughn Benjamin, however, the rare occasions when the brothers come together to continue to spread the true Midnite vibes in either performance or album are not to be missed. Midnite itself has a style which is even somewhat more different from much of their peers and is one that is definitely unique to reggae and one I wouldn't dare recommend to ANYONE not proclaiming themselves to be a reggae head. Their style has been described by some (myself including) with a very wide array of adjectives from brilliant to bad, from amazing to amazingly cryptic and from freewheeling to text booked. What you are to expect from Vaughn is a musical voice which is as PURE chant as is available in reggae these days and fans of reggae who are not fans of Midnite will probably almost immediately refer to names like Fantan Mojah, Lutan Fyah and early Sizzla. While very respected amongst that strain of artists (Lutan Fyah admits he is amongst the group's biggest fans, and he recently did a combination with Vaughn, Stay With His Majesty, for Lustre Kings) Midnite's (meaning Vaughn's) style is more closely related to artists like The Wailing Souls and even harkening back to the styles like those you would hear chanting over a Count Ossie recording (the world would be such a much better place if we could get Vaughn to remake So Long wouldn't it?). What Vaughn does have in common with his several of his Jamaican counterparts however is the recording schedule. While, as I mentioned, an album with the artist listed as `Midnite' only requires Vaughn Benjamin, musically what you'll hear on a Midnite album, while typically roots, for the most part, can vary just as much, if not more, than the words used to describe the band. For the past two to three years or so at least it seems all but guaranteed that we'll get three Midnite albums very early in the year, with at least one being their complete own creation and one being for the VI's most popular label, I-Grade Records and the third from another producer. 2007 has been no different and generally the most well done and most popular of these albums is the I-Grade album (as well as being the best promoted).

Enter the I-Grade album. Releasing titles for the likes of Midnite and other well known VI reggae artists such as Abja, Army and the incomparable Dezarie, I-Grade Records has become the premier label for VI reggae artists. This new combination of Midnite and I-Grade, Rule the Time, becomes the seventh or eighth by my count and it follows the very solid (and yet very odd) Jah Grid of `06. Rule the Time is a very very welcome change to the Midnite catalogue as it doesn't follow the stereotypically WEIRD route of Midnite's albums and styles. The first thing you'll notice even before digging into the vibes on Rule the Time is the true size of the project. Checking in at a whopping nineteen tracks and just under eighty minutes long, Rule the Time is more than the typical 12-15 tracked offering which usually come out of the Midnite camp. The next thing you'll notice when actually getting to the music is a slightly more melodically intensified style where Vaughn actually ALMOST goes into a full blown singing style, sounded almost exactly like a combination between the aforementioned Fantan Mojah and Fantan Mojah. This makes Rule the Time easily one of the more ENJOYABLE albums of Midnite's career, while it lacks the overall strength of such titles as Ras Mek Peace and Nemozian Rasta (my personal favorite of Midnite), Rule the Time becomes one of the very few Midnite albums I would MAYBE recommend to newcomers to the vibes of the group. Also, while several things have changed, several still have remained the same: It is a Midnite album, which means Vaughn Benjamin does all of the singing and wrote all of the songs and it is an I-Grade release which means a great deal of the production was done by label head, the brilliant Laurent `Tippy' Alfred.

Rule the Time is as about as 'dynamic' as I have heard Midnite (again, meaning Vaughn) and the result is a very strong album. The opener , Stretch Out, gives the album a great starting point and steers it in a very fine and different direction. Stretch Out sounds like something which could have come out of Jamaica and also shows a nice additive in the horns. There are very very fine horns utilized throughout Rule the Time and it almost seems unusual that despite his hectic recording and release schedule, Vaughn had yet to encounter a producer, until now, who so wonderfully accompanied his unique vocals with a solid horn. The horn also gives Rule the Time somewhat of a vintage jazz feel, the type of sound one might here during the lax time of a Shaft film. Rule the Time isn't exactly all `neo' Midnite. Fans of the group's more traditional vibe will absolutely devour a tune like In Him. In Him is vintage Vaughn Benjamin as he scores with a play on words which all but ignores the riddim and goes to the point where he creates his own melody despite the very subtle change in the riddim, and ultimately, without warning, the song just STOPS. Another very strong track is the very nice His Majesty. His Majesty is a little bit of a hybrid track as it incorporates both a tad bit more melodic Vaughn and the one you're used to. Ultimately, in future releases this is the style one would hope he would choose to adopt just a little bit more (if you've seen the group perform live then think about that exact style (which is a little more fan accessible) on audio and you'll have a good understanding of the vibe on His Majesty. Add that to one of the most powerful messages on the album, the praise of His Majesty (and the most powerful message in the world), and His Majesty is promoted near the top of the album as one of the best tracks here. Another very very strong track here is definitely the closer, Good Thoughts is even more typical Vaughn than In Him and it really shows one of the big reasons why millions around the world have accepted the group. Good Thoughts I is very strong and built over a non-horn backed ultra tight one drop (with a nice harmonica accompaniment actually) is an absolute showcase for Vaughn's style. That one of a kind chant strengthened by a bag of lyrics seemingly only equaled in modern reggae by the likes of masters such as Sizzla Kalonji and Jah Cure (and in the very very near future Lutan Fyah) , helps makes Good Thoughts a very good choice for one of the better candidates for Rule the Time's best pieces, were it not for what goes on in the middle of the album.

The real story on Rule the Time is the absolute brilliance which goes on in the five tracks between 10-14. Beginning with the title track which is one of the strongest (and different) Rastafari praise tracks that I've heard in 2007. It is more typical Vaughn although SLIGHTLY more melodic, and a very strong track. Then you have my choice for the overall best tune on Rule the Time, the MASSIVE Simbal is the Leaf. Initially the track reminded me of one of the more perplexing tracks I've EVER heard anywhere, Midnite's The Gad, but upon my third or fourth listen through the real power of that track hit me. Built over a very hard pounding riddim which isn't extremely far from a dancehall track actually, Simbal is the Leaf pushes a meditative vibe which you just don't hear very often (that same vibe was in The Gad, I'm sure, however digging into that one required far more than three or four rotations) anywhere on any track, Simbal is the Leaf is definitely the highlight of this jam packed album. The next track in the line of five dominant pieces is the horn driven and very jovial Get Up ("If you feel like get up, GET UP!"). Get Up is probably as close as Midnite will ever come to making a dance track! And if you hear the song and you're a fan, you'll definitely know exactly what I mean and its overall presence on Rule the Time is a very very nice changeup for the album (now if we could have just gotten a Dezarie combination) and makes it stronger. Check Born in the Time, a very beautiful peace with a nice laid back vibe to it, while probably the least strong of the row of five, Born in the Time (with the exception of Good Thoughts) maybe stronger than any other on the album, and is best listened to perhaps as an accompaniment to your meditations, its just something which didn't really grow on me until maybe my tenth listen (the lyrics on that one are definitely to be heard THROUGHOUT the entire song, Vaughn tries to put some very important things later in the record). Lastly check my choice for Rule the Time's second best track, Again a Lion. Again a Lion is one of the harshest, yet most clever condemnatory tracks you'll ever and probably has the best chorus on the entire album (the track which follows those five, Jah Love, is exceptional as well).

Overall, I'm not hesitating in recommending Rule the Time for those who traditionally fans of Midnite's. For newer fans as well, just thinking off the top of my head I can't really think of a more accessible album than Rule the Time to those who haven't yet acquired the taste of Midnite's vibes (and after actually researching my facts, I still can't). While not the best work of Vaughn Benjamin (and because of how polarizing their music is, you may actually think it is his best work) Rule the Time is a more than welcomed addition to a library of vibes which is anything but normal and by far, one of the easiest listens of Midnite's career.

..another killer Midnite production. Just curious though, why are the tracks labeled as "explicit" Amazon?

2007 has been a very powerful and potentially landmark year for roots reggae music coming out of the Virgin Islands. The biggest occurrence of the year definitely was the fact that a VI artist finally cracked through the 'mainstream' reggae market of Jamaica and has all but established himself as a household name with one of the biggest songs of the year. Pressure Busspipe, a St. Thomas native, attracted the attention of Jamaican super-producer Don Corleone and dropped Love & Affection late 2006 and the song become a MASSIVE hit in 2007, being the first of its kind for a Virgin Islands reggae artist. International fans, perhaps have not even discerned the fact that Pressure is not actually Jamaican, but the reggae industry is paying attention, so much so that the tune would ultimately appear on two of the biggest reggae compilations of the year; The Biggest Reggae One-Drop Anthems from Greensleeves and of course Reggae Gold from VP Records. Alongside Pressure busting into the big time, there were also albums from some of the biggest names in the genre. Artists like Batch, Ras Attitude and Niyorah all released albums (in Batch's case, multiple albums). A next crop of lesser known but established artists, such as Mada Nile, Danny I and De Apostle also pushed albums. More even still were solid artists such as Xkaliba, Ickarus, Nubian Natty and Massiah made their official debuts as well. There was also a rather significant event in the second half of the year with VETERAN musician Tuff Lion finally reached the world with his official debut, the very nicely done Utterance. Combine all of that with a rather constant stream of singles and a few other events (such as releases from related artists to the genre such as Malika Madremana, Blaak Lung, Noble Society and Empress Cherisse) have definitely made 2007 more than just a year to remember for Virgin Islands roots reggae music. And then there is Midnite. By far, the trendsetter of the genre, Midnite was the group which initially made reggae coming from the Virgin Islands a subject of discussion, 2007 for Midnite has been nothing short of very very successful and equally very very strange. While typically, being prolific, much like their Jamaican roots counterparts, is a trait which Midnite definitely has exhibited over the years as `they' (`they' of course meaning front man and songwriter, Vaughn Benjamin) have routinely released three or four albums for three or four different labels almost annually. 2007 was even more different however, as `they' took the term prolific in terms of reggae, and virtually redefined it.

Typically (however odd it may sound) Midnite will load up early in the year and release three albums between the months January and February and that was the same in 2007. This year saw the early months PACKED with Midnite releases; There was the reigning crown jewel of the year, the nearly brilliant Rule the Time, the obligatory effort from the VI's premier label, I-Grade Records; There was the painstakingly DEEP and cryptic Aneed which was Vaughn Benjamin's pet album as he did virtually everything on the album (where he finds the time, I`ll never know!), put out by Groundbreaking Records; and there was the bigger, more ethereal vibed New 1000 for young New Mexican label, Full Grown Records. But they didn't stop there for the early months, instead Vaughn (apparently before leaving New Mexico after recording New 1000) also released the more roots (and BASS) heavy Suns of Atom for fellow NM label Fifth Son Records as well. All four albums appeared within a single month of each other (actually, probably it was more like three weeks) and it was everything Midnite fans who buy their albums were used to dealing with each and every January. In the summer there were two more Midnite albums. First up was the rather typical for Midnite, but still oddly addictive, Better World Rasta for Florida based Rastar Records. Better World Rasta just had a more solid and well engineered power style to it which sounded almost like an ever so slightly exaggerated form of what Vaughn typically puts out. Following BWR was the EXCELLENT Bless Go Roun for the California label Higher Ground Records (are you still keeping up???). Bless Go Roun was/is an album which really showed Vaughn in a different light, the album is much more dynamic and melodic than what you typically hear from the chanting Benjamin while not deviating his style too much at all and it is definitely one of my favourite Midnite releases to date. Bless Go Roun was truly a very nice way to cap an excellent (albeit definitely overdone!) 2007 for Midnite. However, apparently no one bothered to tell mention that to Vaughn himself as he wasted no time in releasing what is undoubtedly his most anticipated and popular release of the year since Rule the Time. Infinite Quality comes at the hand of what is in my opinion the finest roots reggae production house outside of Jamaica (and I-Grade Records definitely as well, and I'm sure I'm probably missing a very large one as well) and the Caribbean as a whole, the excellent Lustre Kings Productions of Oakland, California. Lustre Kings has been making a very fine brand of roots for roughly a half decade, and doing so with many of the biggest names from the island. Names like Sizzla Kalonji, Capleton, Luciano, Anthony B and Turbulence have all voiced for the label. They have also released albums for Turbulence, Lutan Fyah and VI chanter Ras Attitude in the past as well (there`s a long overdue album from Norrisman in their ranks as well), definitely making themselves a label to keep an eye on for good quality roots. The label has also had a fantastic relationship with artists coming from the Caribbean outside of Jamaica, as alongside Ras Attitude, Lustre Kings has voiced artists such as Khari Kill and Marlon Asher from Trinidad and St. Thomas residents Pressure and Niyorah . The question of exactly when the label might make its way to Midnite, the undisputed biggest name in reggae in the Caribbean outside of Jamaica, was only a matter of time.

Enter Infinite Quality. This album greatly interested me going in because I figured that because of the type of music LKP has released in the past, which is more along the lines of what you hear here in Jamaica, we might finally get to hear Vaughn consistently go over riddims which are presented and voiced by the Sizzla's, Capleton's and Luciano's of the world (ultimately I would love Midnite to come here and voice for someone definitely!). The results are not exactly what I might've expected as Vaughn's inimitable style (as it usually does) outshines the riddim on virtually every track, but it sounds closer and closer to more of a Jamaican vibes and there are some very nice twists on Infinite Quality. Twist number one is definitely the opener which sounds like something one might expect to hear on a traditional Japanese sound with a very string-heavy sound for Dew. Dew is definitely a changeup and a `twist' but it's the type of thing that you wouldn't necessarily place out character for Vaughn Benjamin to record. After awhile the backing (which is quite lovely actually as it gets better as it goes along adding newer slight nuances all along the track) almost disappears under Benjamin's flowing chant and I have to say of all the downright strange tunes I've heard from Midnite over the years (and there have been MANY) by far Dew is one of the ones which grew on me the fastest (check the shockingly addictive The Gad on the Let Live album for another). Things point in a more familiar direction on the second track, the wonderful Right Here. Right Here is a very lovely song over an equally lovely and bubbling riddim complete with a very nice horns sectioning. Of ALL the tunes on Infinite Quality, the one which I think would be the best performed live is without a doubt Right Here. The song just has a very nice and vibrant vibe to it accompanying Vaughn's unusually lively chanting as well. The title track, which comes third on the album flows over an older Lustre Kings riddim which I recognize as the Shining riddim (most notably it also served as backing for what is my favourite tune on the riddim was Lutan Fyah's Fire in the Barn) is a song which is fairly standard Vaughn Benjamin but with a slight twist. The chorus is exceptionally strong with a very random background chanting to it (which I believe was Vaughn himself) and combined with his typically STRONG message, definitely make the title track here one of the absolute best efforts (and you have to check the very nice touch at the end of the song, which I won't spoil here).

The real highlight on paper of Infinite Quality is without a doubt the song which Lustre Kings tipped earlier this year on the Rastafari Unity EP, Stay With His Majesty, a solid combination with blazing Jamaican chanter Lutan Fyah. Fyah is without a doubt one of my current favourites overall, and the song is very solid, but I would definitely like to see the pair get back in to the studio (maybe even on another LKP riddim) for another go. As it is, Stay With His Majesty is a very strong knowledge track and works completely on Inifinite Quality as aside from the occasional appearance of Jah Rubal or Pressure and the likes, you really won't find too many combinations with Vaughn Benjamin, and certainly not with top notch roots talents from Iland. Stay With His Majesty begins a stretch of about four or five tracks which really sends the album on a very high note. Its following track, Hymns is another track which we've heard before as it appeared on LK's Red Razor riddim which was released as an album in February. The Red Razor is the perfect backdrop for one of the most powerful message tracks on the entire album, definitely dig into the words on this one and the production (helmed by Zion High and includes a virtual all-star group of players of instrument including Wadi Gad and Tuff Lion) is so strong so as the riddim does not get overlooked in the slightest bit. Hymns precedes what is definitely my choice as the finest track on Infinite Quality altogether, the OUTSTANDING Before David. Before David is a track which absolutely makes one proud to be of Afrikan descent (which I am) and combined with a `riddim' which almost isn't even a riddim, instead a backing track built to go around Benjamin's words (which is what often times it seems as if happens on Midnite's songs, but in the case of Before David, it seems purely INTENTIONAL). It goes on in such a style which is almost talking and in the middle of the track it seems almost endless. Definitely a real winner which takes Benjamin's style and doesn't change it at all but adds to it, the result is without a doubt the strongest material you will find on Infinite Quality and one of the strongest tracks I have heard from Midnite entirely. I would also go to mention that the tune which immediately follows Before David is the outstanding Dominion and it leads into a series of very strong tracks which culminates with the very lovely closer Heal Yourself, another one of the best tune altogether on Infinite Quality.

Other tracks on the album which distinguish themselves definitely include first and foremost, the very explosive Mic Row Assemble. Mic Row Assemble has almost a hip-hop feel to it or an experimental dancehall vibes even. Somewhere in the midst of the song I actually forgot I was listening to a Midnite song, it is actually a VERY fun track during which Benjamin flows a never ending current of knowledge (he even namedrops Marvelous Marvin Hagler!) on MANY things. Definitely a very nice addition and yet another solid changeup for the album. Also check Lose Everything. Lose Everything actually probably has the strongest message on the entire album as Benjamin encourages people to `lose everything to know Jah!'. the tune also features strong instrumentation from the likes of Tuff Lion, Tippy Alfred, fellow VI chanter Abja and Benjamin himself (soon I imagine Vaughn will develop someway in which he can perform and play EVERY instrument simultaneously). And lastly I'll recommend two more standouts from the middle of the album. Check both Attacking the Doves and More Love. The former is a very strong track empowering the women, while the latter sounds like something directly out of yard circa 1970 with a very strong one drop (also the song features a characteristically perplexing lyric from Benjamin, easily the most hieroglyphic-like on Inifinite Quality when he chants at the beginning of the third verse `Imagine to see all the different very same thing, in a game theory book', and in typical Vaughn Benjamin style, he ties it together, and in the end, it makes perfect sense what he was intending for the line).

Overall, as usual, I'm recommending the latest Midnite album to those who are fans of Midnite. I wouldn't exactly call it the most accessible Midnite album to date for newer fans (for that, from this year alone, because those album would be more readily available, check Better World Rasta and especially Rule the Time), but for more indoctrinated fans, you will enjoy this alongside each and every other Midnite release. I think Lustre Kings could have really done more with it, with their connections, certainly a few more combinations with Jamaican artists would have really pushed this one to the heights (including THE combination which I have been waiting for; Vaughn Benjamin alongside Sizzla Kalonji!). As it is probably the third or fourth best release of the year after Rule the Time and Bless Go Roun and perhaps tied with Better World Rasta.. However, Infinite Quality is the standard top notch rootical vibe we've come to expect from Midnite over the years, definitely doesn't disappoint, but I'll love to see what LKP and Midnite have in store for 2008 (it is only November though! They could have another album this year!).

Overall a solid Dub album from probably the best reggae band out there these days. Midnite seems to have cds that cover many different reggae styles. Albums like "Unpolished", "Ras Mek Peace", and "Seek Knowledge" being the most popular with the fans (and the band cause they play mostly those songs live). If you own these disks and would like a little variation on those tunes you should check out this cd. BUT, as the other reviewer said, don't start here if you are new to the band, get one of the previously mentioned albums, especially "Unpolished". I would recommend to the reviewer that doesn't get them to really sit and listen to all the songs a number of times. I find it takes a few times with them to appreciate the subtle greatness of their music. And is there a better voice in reggae than Vaughn Benjamin's?

Iv been trying to figure out if this is the same Midnite that put out those other albums the reviewer below mentions, because I just dont get their other stuff. This album is one of my all time favorite Dub albums, but I get bored after three or four songs on all their other albums I have heard. Their songs just sound too similar. This is not the case with Intense Pressure it keeps hitting and ripping all the way through. Put this one on auto replay, I cant get enough.

I have a hard time giving any Midnite album less than five stars... the band is the best thing to happen to roots reggae since Bob Marley and Peter Tosh. Period. Anyone who considers themselves a reggae fan and has yet to hear Midnite must do so as soon as they possibly can. BUT... this is not a good place to begin a relationship with this band. Fans of Midnite will like it. Very serious dub fans will like it. But this album, when you break it down, is nothing more than standard instrumental reggae & dub at best. Still worthy of 4 stars, don't get me wrong, but nowhere near the transcendent experience that is "Ras Mek Peace" or "Unpolished." There are dub versions on this album of songs found on "Seek Knowledge Before Vengeance," most notably 'New Life' which is spectacular in dub form. Overall, however, this album seems to be regular Midnite without the vocals... which would be fine if the standard dub effects were heavier, but they are nearly absent. Want brilliant bass heavy dub? Stick with King Tubby and the masters of the 1970s. Want to hear the best reggae band of the roots reggae resurgence? Check Midnite's "Ras Mek Peace," "Unpolished," or maybe "Cipheraw." Already a Midnite fan looking to flesh out your collection? Go for it. This album is really good... just not great.